July 9, 1924, Sonoma, California, United States – December 6, 2017.

Thorne grew up in Piedmont CA. At age 9, he designed his first house near Auburn CA and helped his grandfather build it.

After four years as an Air Force pilot, Thorne studied architecture at UC Berkeley, graduating in 1950.

Beverly Thorne (1924) received a BA in architecture from the University of California at Berkeley, California, 1950.

This was followed by a job with David S. Johnson and a multi-year stint in Europe, before going to work for him in 1954 under the name David Thorne.

 Starting in 1953 he worked for architect Roger Lee. Thorne met musician Dave Brubeck and designed Brubeck a house on the side while still employed with Lee.

In 1954, Thorne went out on his own as the Brubeck house catapulted him into mostly unwanted fame.

His notoriety attracted rich clients but distanced him from the kinds of clients he wanted – simple souls desiring inexpensive homes.

He deliberately dropped out of sight with an unlisted phone number and changed his professional name from David to Beverley.

In many of his buildings, Thorne used steel structures.

The architect designed the house for Dave Brubeck in Oakland, California (1954), on an inhospitable terrain on a rocky slope.

He thus he created a three-story building whose steel structure is partially anchored in the rocks.

The upper deck is at the height of the treetops and with its glass walls and huge windows offers views in all directions.

A part of the upper floor in projection houses the bedroom; the middle floor opens onto a large terrace.

At the Nail house in Atherton, California (1954), Thorne abandoned his usual form of modular construction.

As his client wanted to have views from the living room over the trees, the architect decided that the roof should protrude diagonally.

Below there is a garage for the car.

The Case Study House No. 26 in San Rafael, California (1962-1963), also designed by Thorne with a steel skeleton, rests largely on free piers on sloping ground with a cantilevered overhanging part.

The flat roof serves as a parking lot.

In the 1980s, he resurfaced and practiced primarily from Hawaii. His three children David, Stephen, and Kevin are architects or landscape architects.

Thorne was the last living contributor to Arts & Architecture magazine’s famous Case Study Houses, a project which introduced Modernist architecture to the public on a large scale.

He designed over 150 houses, most on steep hillsides and built out of steel.

Gössel, P. (2007). The A-Z of Modern Architecture (Vol. 1). Deutscher Taschenbuch Verlag.

https://usmodernist-org.translate.goog/thorne.htm?_x_tr_sl=en&_x_tr_tl=es&_x_tr_hl=es&_x_tr_pto=sc

https://www.dmkarch.com/our-inner-dialogue/2017/12/12/beverley-thorne-1924-2017

https://www.jazzwax.com/2017/12/beverley-thorne-1924-2017.html

22 de diciembre de 1908, Winterthur, Suiza-9 de diciembre de 1994

Berlín.

Después de su formación de orfebre (1924-1927), Max Bill (1908-1994) se forma como arquitecto con Walter Gropius y Hannes Meyer en la Bauhaus de Dessau.

 Lázló Moholy-Nagy, Paul Klee y Vasily Kandinsky marcan su desarrollo artístico.

En 1929 gana el primer proyecto de concepción gráfica de fachadas en Zúrich.

Su primer proyecto es su propia casa de Zúrich (1932- 1933), un atelier que acoge taller y vivienda.

Entre los años 1932-1936 es miembro del grupo artístico Abstraction-Création y participa en sus exposiciones en París.

Allí conoce a Piet Mondrian, Antoine Pevsner y Marcel Duchamp.

El primer encargo público lo obtiene con la construcción del pabellón suizo de la IV Trienal de Milán (1936).

En 1938 es admitido en el grupo de Zúrich y CIAM y publicó el primer volumen de (Euvre Compléte de Le Corbusier).

Durante un tiempo trabaja para Hans Schmidt, y en el campo de la concepción gráfica en el departamento de Urbanismo y Planificación Nacional de la Exposición Nacional Suiza de Zúrich (1939).

En su publicación Forma, Bill expresa sus reflexiones teóricas.

Su concepto de la buena forma es del gusto de la Werkbund alemana y en 1949, Otl Aicher y Inge Scholl lo buscan para trabajar como asesor para diversos proyectos de reconstrucción en Ulm.

El plan de abrir en la ciudad de Ulm una nueva Bauhaus se llevó a cabo bajo su dirección.

1950, Bill es rector de la futura Escuela Superior de Diseño.

Él mismo elabora el programa pedagógico y proyecta las instalaciones, que se construyen en los años 1953-1955.

 El proyecto está considerado como su obra más importante.

Los cuerpos arquitectónicos planos, agrupados sobre un terreno ondulado, presentan una concepción funcional.

La estructura de marcos de hormigón visto acoge grandes ventanales que llenan las aulas de luz.

1964, erige los pabellones para el sector Bilden und Gestalten de la Exposición Nacional Suiza de Lausana.

En este proyecto utiliza un sistema modular con el que había experimentado desde principios de los años sesenta.

1980, hace sobre todo trabajos plásticos como la escultura-pabellón de Zúrich (1979- 1983) y la escultura Continuidad (1979- 1983), que se alza frente a la central del Deutsche Bank en Fráncfort del Meno.

Por tanto, cuando el ser humano reflexiona sobre su existencia como ser humano, no solo es capaz de tecnificar su entorno, es decir, de acondicionarlo según sus más básicas necesidades materiales, sino que logra conformarlo realmente.

Gössel, P. (2007). The A-Z of Modern Architecture (Vol. 1). Deutscher Taschenbuch Verlag.

https://www.metalocus.es/es/noticias/max-bill-de-la-bauhaus-al-diseno-industrial

https://www.disenoyarquitectura.net/2011/03/disenadores-max-bill.html

https://www.pinturapintura.com/artistas/113-max-bill/

https://www.march.es/es/palma/exposiciones/max-bill-obras-arte-multiplicadas-como-originales-1938-1994

https://elcultural.com/Max-Bill-forma-y-fondo

Primera retrospectiva del artista suizo Max Bill (1908-1994) en España en la Fundación Juan March

https://elpais.com/cultura/2015/10/16/actualidad/1445022241_196343.html

December 22, 1908, Winterthur, Switzerland – December 9, 1994 Berlin.

After his training as a goldsmith (1924-1927), Max Bill (1908-1994) trained as an architect under Walter Gropius and Hannes Meyer at the Bauhaus in Dessau.

 He released Moholy-Nagy, Paul Klee and Vasily Kandinsky marked his artistic development.

In 1929 he won the first graphic façade design project in Zurich.

Bill made his debut in construction with his own house in Zurich (1932-1933), which housed a workshop and a dwelling.

Between the years 1932-1936 he was a member of the artistic group Abstraction-Création and participated in its exhibitions in Paris.

There he met Piet Mondrian, Antoine Pevsner and Marcel Duchamp.

The first public commission was obtained with the construction of the Swiss pavilion for the IV Milan Triennial (1936).

In 1938 he was admitted to the Zurich and CIAM group and published the first volume of (Le Corbusier’s Euvre Compléte).

For a time he was employed by Hans Schmidt, and worked in the field of graphic conception in the Department of Urbanism and National Planning of the Swiss National Exhibition in Zurich (1939).

In the publication Form of him, Bill expressed his theoretical reflections. His concept of «good form» was to the liking of the German Werkbund and in 1949 he was sought out by Otl Aicher and Inge Scholl to work as a consultant for various reconstruction projects in Ulm.

The plan to open a new Bauhaus in the city of Ulm was carried out under his leadership.

In 1950, Bill was appointed rector of the future Higher School of Design.

He himself drew up the pedagogical program and designed the facilities, which were built in the years 1953-1955.

 The complex is considered the most important work of him.

The flat architectural bodies, grouped on an undulating terrain, present a functional conception.

The exposed concrete frame structure houses large windows that flood the classrooms with light.

In 1964, Bill conceived the pavilions for the Bilden und Gestalten sector of the Swiss National Exhibition in Lausanne.

In this project he used a modular system that he had experimented with since the early 1960s.

In the 1980s, Bill was primarily involved in plastic work.

Thus he was able to realize, for example, the sculpture-pavilion of Zurich (1979-1983) and the sculpture entitled Continuity (1979-1983), which stands in front of the Deutsche Bank headquarters in Frankfurt am Main.

Therefore, when human beings reflect on their existence as a human being, they are not only capable of making their environment more technical, that is, of conditioning it according to their most basic material needs, but they are actually able to shape it.

Gössel, P. (2007). The A-Z of Modern Architecture (Vol. 1). Deutscher Taschenbuch Verlag.

https://elpais.com/cultura/2015/10/16/actualidad/1445022241_196343.html

https://www.abc.es/cultura/cultural/abci-jakob-bill-para-bill-todo-mano-201511251307_noticia.html

https://www.metalocus.es/es/noticias/max-bill-de-la-bauhaus-al-diseno-industrial

https://www.mchampetier.com/biografia-Max-Bill.html

https://www.disenoyarquitectura.net/2011/03/disenadores-max-bill.html

https://www.disenoyarquitectura.net/2011/03/disenadores-max-bill.html

https://www.pinturapintura.com/artistas/113-max-bill/

https://www.march.es/es/palma/exposiciones/max-bill-obras-arte-multiplicadas-como-originales-1938-1994

https://elcultural.com/Max-Bill-forma-y-fondo

https://www.revistadearte.com/2015/09/02/primera-retrospectiva-del-artisita-suizo-max-bill-1908-1994-en-espana-en-la-fundacion-juan-march/

Max Bill, el homo universalis

https://elpais.com/cultura/2015/10/16/actualidad/1445022241_196343.html

He has inaugurated 6000 different colored flowers in a Pinecrest park, installed with the help of volunteers

His work has been exhibited at the Victoria & Albert Museum in London; Waddesdon Manor, The Rothschild Collection, Buckinghamshire; and the Solomon R. Guggenheim Museum, New York.

Known for his light installations, he beautifies from today until June 2022 the nights of Pinecrest Gardens Park in Miami (Florida) with a work made with 6,000 glass spheres illuminated with fiber optics.

The Bruce Munro: Forest and Field of Light exhibition and included in the Art Basel Miami Beach fair event schedule features two installations to bring the gardens to life at night with brilliant colors.

This is the artist’s first opportunity to create an outdoor piece for a tropical forest setting and he is satisfied with the result.

Each exhibition space is unique and the size of the space does not matter, but the concept and passion of people for art.

In Pinecrest I found that passion for art and that human warmth (…) and that is why I hope that this exhibition inspires a little hope and joy to all who visit these beautiful gardens

The two installations created by Munro are very different.

Field of Light is situated around a lake, the surface of which is fully illuminated by gently changing red, yellow, blue and white light waves, while the sinuous and exotic Forest of Light is hidden deep within the Lower Garden ( Lower garden).

For me, light is a means of expression and a conduit for sharing thoughts, feelings, and life experiences with others.

During the tour, visitors can walk along a path surrounded by illuminated stems from which they access from the gardens to the natural jungle that surrounds them.

Immersed in tropical splendor, the lighting is reflected in the streams that surround Tortuga Island.

For Munro, the most important thing is to generate emotions through light, beyond creating a majestic and impressive work to behold.

The work begins as a sketch in 1992 as he travels to Uluru through the Red Desert in central Australia.

That trip changes my life completely.

The artist begins to dream of a field of lights that flourishes under the night sky, like the desert after a rain.

The difficulties of life as a single person in a foreign country and then the arrival of the family then get in the way.

He cannot execute the piece until 10 years later when he creates the first field of light – with 50,000 illuminated glass spheres – in the field behind his family’s home in Wiltshire, England.

This is a very important job, because it gives me the opportunity to work as an artist full time for the last 20 years.

From there, Munro exhibits work around the world such as Denmark, Scotland, Mexico and South Korea.

2016, he returns to the same space that inspires him, Uluru, to present his installation.

Munro assures that life has many positive sides and that negative artistic manifestations are ephemeral, since the news and news are responsible for darkening our mornings daily.

I think art has a great way of acting as a behavior to develop a way to help people express their problems without hitting them.

Miami, 4 dic 2021 Agencia (EFE)

https://www.pinecrestgardens.org/fine-art/bruce-munro-forest-and-field-of-light

Web oficial
Web Longwood Gardens
Wikipedia
Post en ALT1040.com
Post en diariodesign.com
Post en plataformaarquitectura.cl
Vídeo en Longwood Gardens

https://nodisparenalartista.wordpress.com/2012/09/23/bruce-munro/

https://www.pinecrestgardens.org/fine-art/bruce-munro-forest-and-field-of-light

https://www.pinecrestgardens.org/fine-art/bruce-munro-forest-and-field-of-light

Es muy desconocido en España. Estudia Bellas a Artes en Bristol.

1984 se marcha a Australia y crea una empresa de diseño.

2002 regresa al Reino Unido y es cuando sus instalaciones de campos de luz empiezan a obtener reconocimiento en todo el mundo.

Trabaja años como diseñador realizando obras para interiores y organismos privados creando lámparas o instalaciones en residencias, hoteles, restaurantes.

A la vez hace obra con sus campos de luz, como la pieza del exterior de un museo en Bath de 5200 flores de fibra óptica.

Confecciona obras con CDs o con lámparas LED.

2004 su primer Field of light se coloca en el Victoria and Albert.

Mas tarde inaugura otra pieza de luz en los jardines de Longwood, 23 acres of breathtaking light: Installations.

6 instalaciones divididas por los diferentes lugares de los jardines y bosque de Longwood, y seis instalaciones al aire libre.

Famoso por sus instalaciones de luz, embellece desde hoy, 5 de diciembre de 2021 y hasta junio de 2022 las noches del parque Pinecrest Gardens en Miami (Florida) con una pieza hecha con 6.000 esferas de cristal iluminadas con fibra óptica.

La exposición Bruce Munro: Forest and Field of Light e incluida en la programación de eventos de la feria Art Basel Miami Beach presenta dos instalaciones para dar vida a los jardines por la noche con colores brillantes.

Esta es la primera oportunidad del artista, de crear una pieza al aire libre para un entorno de bosque tropical y está satisfecho con el resultado.

Cada lugar de exposición es único y no importa el tamaño del espacio, sino el concepto y la pasión de las personas por el arte.

En Pinecrest encontré esa pasión por el arte y ese calor humano (…) y por eso espero que esta exposición inspire un poco de esperanza y alegría a todos los que visiten estos hermosos jardines

Las dos instalaciones creadas por Munro, Campo de Luz y Bosque de Luz, son muy diferentes.

Field of Light está situada alrededor de un lago, cuya superficie queda totalmente iluminada por ondas de luz de colores rojo, amarillo, azul y blanco que cambian suavemente, mientras que la sinuosa y exótica Forest of Light está escondida en las profundidades del Lower Garden (Jardín inferior).

Para mí, la luz es un medio de expresión y un conducto para compartir pensamientos, sentimientos y experiencias vitales con los demás.

Durante el recorrido, los visitantes pueden pasear por un camino rodeado de tallos iluminados desde el cual acceden desde los jardines hasta la selva natural que los rodea.

Inmersa en el esplendor tropical, la iluminación se refleja en los arroyos que rodean la Isla de la Tortuga.

© Proporcionado por Agencia EFE

Para Munro, lo más importante es generar emociones a través de la luz, más allá de crear una obra majestuosa e impactante a la vista.

La obra comienza como un bocetos en 1992 mientras viaja a Uluru a través del Desierto Rojo en el centro de Australia.

Ese viaje cambia mi vida por completo.

El artista empieza a soñar con un campo de luces que florezca bajo el cielo nocturno, como el desierto después de una lluvia.

La dificultades de vida como soltero en un país extranjero y luego la llegada de la familia se interponen entonces.

No puede ejecutar la pieza hasta 10 años después cuando crea el primer campo de luz -con 50.000 esferas de cristal iluminadas- en el campo detrás de la casa de su familia en Wiltshire (inglaterra).

Este es un trabajo muy importante, porque me da la oportunidad de trabajar como artista a tiempo completo durante los últimos 20 años.

A partir de ahí, Munro expone obra en todo el mundo como Dinamarca, Escocia, México y Corea del Sur.

2016, regresa al mismo espacio que lo inspira, a Uluru, para presentar su instalación.

Munro asegura que la vida tiene muchos lados positivos y que las manifestaciones artísticas negativas son efímeras, ya que los telediarios y noticias se encargan de oscurecer nuestras mañanas diariamente.

Creo que el arte tiene una gran manera de actuar como conducta para desarrollar la forma de ayudar a las personas a expresar sus problemas sin golpearlos.

Miami, 4 dic 2021 Agencia (EFE)

www.brucemunro.co.uk

Web oficial
Web Longwood Gardens
Wikipedia
Post en ALT1040.com
Post en diariodesign.com
Post en plataformaarquitectura.cl
Vídeo en Longwood Gardens

https://nodisparenalartista.wordpress.com/2012/09/23/bruce-munro/

https://www.pinecrestgardens.org/fine-art/bruce-munro-forest-and-field-of-light

https://www.pinecrestgardens.org/fine-art/bruce-munro-forest-and-field-of-light

 Es el nombre que identifica a un pasaje bíblico del Génesis 19,​ que da origen a un tema iconográfico muy representado en el arte a partir del Renacimiento, gracias a su condición de escena escabrosa de incesto.

Las hijas de Lot se encuentran en un descanso en su huida de Sodoma, donde viven.

Su relación con su padre es bastante extraña.

Por razones de hospitalidad, las ofrece para yacer a sus convecinos que las desprecian, pues prefieren violar a los ángeles que Dios envía para avisarle de la destrucción de la ciudad.

Han perdido a su madre, que acaba de convertirse en una estatua de sal, pues no puede evitar volverse para ver cómo la ciudad es destruida.

Viendo que sus inevitables destinos van a ser la soledad, deciden emborrachar a su padre y tener relaciones sexuales con él, para quedarse embarazadas.

Sus nombres no se mencionan en la Biblia, pero sí en el Libro de Jaser como Paltih y Tamires, aunque en el Génesis aparecen los de los hijos que conciben Moab y Ben Ammi, de quienes descienden moabitas y amonitas.

Los pintores que representan el tema son; 1528 Lucas Cranach el Viejo, en 1520 Lucas van Leyden, 1537 Altdorfer, 1565 Bonifacio de Pitati, Tintoretto, 1565 Jan Massys, 1616 Francesco Furini,  Hendrick Golzius, 1618-1620 en el taller de Rubens Jacob Jordaens, 1622 Orazio Gentileschi,  1635-1638 Artemisa Gentileschi,  1633 Simon Vouet, 1844 Gustave Courbert etc.

https://es.artsdot.com/@@/8XZPGF-Lucas-Van-Leyden-Lot-y-sus-hijas

https://es.wikipedia.org/wiki/Lot_y_sus_hijashttp://artesycosas.es/2020/11/las-hijas-de-lot/

Trianart

 It is the name that identifies a biblical passage from Genesis 19, which gives rise to an iconographic theme widely represented in art from the Renaissance, thanks to its status as a lurid incest scene.

Lot’s daughters are on a break in their flight from Sodom, where they live.

Her relationship with his father is quite strange.

For reasons of hospitality, he offers them to lie down to his neighbors who despise them, preferring to rape the angels that God sends to warn him of the destruction of the city.

They have lost her mother, who has just been turned into a pillar of salt, for she cannot help but turn to see the city destroyed.

Seeing that their inevitable destinies are going to be loneliness, they decide to get their father drunk and have sex with him, to become pregnant.

Their names are not mentioned in the Bible, but they are mentioned in the Book of Jasher as Paltih and Tamires, although in Genesis they appear those of the children conceived by Moab and Ben Ammi, from whom Moabites and Ammonites descend.

The painters who represent the subject are; 1528 Lucas Cranach the Elder, in 1520 Lucas van Leyden, 1537 Altdorfer, 1565 Bonifacio de Pitati, Tintoretto, 1565 Jan Massys, 1616 Francesco Furini, Hendrick Golzius, 1618-1620 in the workshop of Rubens Jacob Jordaens, 1622 Orazio Gentileschi, 1635- 1638 Artemisa Gentileschi, 1633 Simon Vouet, 1844 Gustave Courbert etc.

https://es.artsdot.com/@@/8XZPGF-Lucas-Van-Leyden-Lot-y-sus-hijas

https://es.wikipedia.org/wiki/Lot_y_sus_hijas

http://artesycosas.es/2020/11/las-hijas-de-lot/

Trianart

Siempre temo que una arquitectura demasiado artística se vuelva muy académica. Los arquitectos no podemos ser solo artistas. Tenemos una gran responsabilidad.

 Ben van Berkel (1957) estudia en la Academia Rietveld de Ámsterdam y seguidamente en la Asociación de Arquitectos de Londres, donde obtuvo su título en 1987.

Antes de fundar UNStudio en 1988 en Ámsterdam junto con Caroline Bos, trabaja para Santiago Calatrava en Zúrich.

En 1994 ejerce como profesor invitado en la Universidad de Columbia de Nueva York.

En la búsqueda de soluciones espaciales y novedosas, que por un lado llevan a respuestas del repertorio funcionalista, pero que; por el otro, también tienen el carácter sensual y gráfico que hoy en día se espera especialmente de los edificios públicos, los arquitectos de UNStudio recurren a modelos matemáticos que, gracias al diseño por ordenador, ahora pueden investigarse.

Así también el desarrollo de sus obras construidas debe interpretarse como un proyecto de investigación en el ámbito de los espacios plegados, retorcidos y entrelazados.

En 1992-1994 surgió la casa Wilbrink en Amersfoort, cuyo tejado cae hasta la calle de forma tan suave que finalmente parece subterráneo.

Los conceptos de arriba y abajo, dentro y fuera se mezclan y redefinen.

Con el puente Erasmo en Róterdam (1990-1996), la ciudad ganó una señal de identidad que unía los nuevos barrios surgidos de la remodelación del complejo portuario con el centro urbano.

El concepto de la casa Möbius en Het Gooi, Países Bajos (1993-1998), se basa en la banda de Möbius, subrayada por el contraste de materiales como, por ejemplo, en la combinación de macizas superficies de hormigón con ventanas de cristal tintado que ascienden hasta el techo.

Con la concepción del laboratorio de RMN de la Universidad de Utrecht, Países Bajos (1997-2000), los arquitectos plegaron superficies de hormigón visto alrededor de la sección del laboratorio central.

El gran bloque de oficinas La Defense de Almere, Países Bajos (1999-2004), gana gracias a incisiones muy pensadas varios patios interiores, cuyas fachadas cubiertas con una película brillante de colores dotan de un aspecto inmaterial al bloque.

En el nuevo Museo Mercedes Benz en Stuttgart, Alemania (2001-2006), las espirales entrelazadas permiten seguir una senda continua en el interior del edificio, al tiempo que rozan las barreras del lenguaje descriptivo del espacio arquitectónico.

Gössel, P. (2007). The A-Z of Modern Architecture (Vol. 1). Deutscher Taschenbuch Verlag.

http://historiasdecasas.blogspot.com/2006/09/la-casa-moebius-en-msterdam-de-ben-van.html

https://es.wikipedia.org/wiki/Ben_van_Berkel

https://www.urbipedia.org/hoja/Ben_van_Berkel

https://kripkit.com/ben-van-berkel/

http://www.launion.es/grandes-profesionales/ben-van-berkel/

https://www.unstudio.com/

https://www.unstudio.com/en/page/5918/ben-van-berkel

http://www.rocagallery.com/es/authors/ben-van-berkel-es

https://arquitecturaviva.com/etiqueta/ben-van-berkel-1

https://www.archdaily.com/773971/architecture-is-121-definitions-of-architecture

https://www.archdaily.com/895050/unstudios-ben-van-berkel-weaves-an-immersive-pavilion-for-revolution-precrafted-series

https://www.archdaily.com/803857/unstudio-erects-pearlescent-structure-at-worlds-leading-architectural-trade-fair-in-munich

I always fear that too artistic architecture will become too academic.

Architects cannot just be artists. We have a great responsibility.

 Ben van Berkel (1957) stadied at the Rietveld Academy in Amsterdam and then at the London Association of Architects, where he obtained the title from him in 1987.

Before founding UNStudio in 1988 in Amsterdam together with Caroline Bos, he worked for Santiago Calatrava in Zurich.

In 1994 he served as visiting professor at Columbia University in New York.

In the search for spatial and novel solutions, which on the one hand lead to responses from the functionalist repertoire, but which; on the other, they also have the sensual and graphic character that today is expected especially from public buildings, the architects of UNStudio resort to mathematical models that, thanks to computer design, can now be investigated.

Likewise, the development of his built works must be interpreted as a research project in the field of folded, twisted and intertwined spaces.

In 1992-1994 the Wilbrink house in Amersfoort arose, whose roof falls down to the street so smoothly that it finally seems underground.

The concepts of above and below, inside and outside are mixed and redefined.

With the Erasmus Bridge in Rotterdam (1990-1996), the city gained a sign of identity that linked the new neighborhoods that emerged from the remodeling of the port complex with the urban center.

The concept of the Möbius house in Het Gooi, the Netherlands (1993-1998), is based on the Möbius strip, underlined by the contrast of materials, such as the combination of massive concrete surfaces with stained glass windows that rise to the ceiling.

With the conception of the NMR laboratory at the University of Utrecht, the Netherlands (1997-2000), the architects folded exposed concrete surfaces around the central laboratory section.

The large La Defense office block in Almere, the Netherlands (1999-2004), wins thanks to well thought-out incisions on several interior courtyards, whose facades covered with a glossy colored film give the block an immaterial appearance.

At the new Mercedes Benz Museum in Stuttgart, Germany (2001-2006), the interlocking spirals allow a continuous path to be followed inside the building, while skimming the barriers of the descriptive language of architectural space.

Gössel, P. (2007). The A-Z of Modern Architecture (Vol. 1). Deutscher Taschenbuch Verlag.

https://es.wikipedia.org/wiki/Ben_van_Berkel

https://www.urbipedia.org/hoja/Ben_van_Berkel

https://kripkit.com/ben-van-berkel/

http://www.launion.es/grandes-profesionales/ben-van-berkel/

https://www.unstudio.com/

https://www.unstudio.com/en/page/5918/ben-van-berkel

http://www.rocagallery.com/es/authors/ben-van-berkel-es

https://arquitecturaviva.com/etiqueta/ben-van-berkel-1

https://www.archdaily.com/773971/architecture-is-121-definitions-of-architecture

https://www.archdaily.com/895050/unstudios-ben-van-berkel-weaves-an-immersive-pavilion-for-revolution-precrafted-series

https://www.archdaily.com/803857/unstudio-erects-pearlescent-structure-at-worlds-leading-architectural-trade-fair-in-munich

https://www.metalocus.es/es/autor/unstudio

The Judgment of Paris (in German, Das Urteil des Paris) is a painting made by the Swiss painter Niklaus Manuel.

It measures 223 cm high and 160 cm wide and is painted in tempera on canvas.

It dates from 1516-1528 and is housed in the Basel Museum of Art.

Niklaus Manuel (also known as Niklaus Manuel Deutsch, that is, German) is a Swiss painter.

Initiated in the Gothic tradition, it denotes the influence of the  Danube school,  marked by energetic graphics and strong chromaticism.

In the last stage of his work he shows the influence of the Italian Renaissance, especially of the Lombard school, which is denoted in more monumental and balanced compositions.

 Within this stage is The Judgment of Paris, one of his masterpieces.

The painting represents the judgment of Paris, one of the most famous episodes in Greek mythology.

Paris, youngest son of King Priam of Troy, is chosen to settle the dispute between the goddesses Athena, Hera and Aphrodite, confronted over which of the three was the most beautiful at the request of the goddess of discord, Eris, who at the wedding de Peleo y Tetis offers the golden apple for the most beautiful, without specifying which of them.

Paris chooses Aphrodite, and her reward is the love of Helen, wife of King Menelaus of Sparta, whose abduction provokes the Trojan War.

Among the classical authors who deal with this subject are Homer and Ovid (The metamórphoses).

In the image they appear,  Hera, naked, only  covered with a blúish ríbbon that surrounds her torso from the left shoulder to the right hip and one of whose ends covers her pubis, dressed in a typical lansquenetes feather hat and with a  shield and a  sword on the right arm; Athena, dressed in a cap and rich dress in the contemporary fashion of the time in which the painting was made; Aphrodite, in  profile,  dressed in a transpárent  veil and wearing a winged cap, already holding the apple of discord in her right hand; and Paris, sitting on a rock, also dressed in contemporary garments, which he has just offered her, so in reality the trial has just happened.

 Hence also Hera’s gesture of disappointment.

The  fígures are reminiscent of ideal Gothic beauty, with small breasts and a prominent belly.

Cupid appears among the branches of the tree on the right, like a small  (win)winged child with his eyes covered by a blindfold, holding a bow and arrow.

The upper part is covered by the branches and leaves of the tree, while in the lower part there is an understory vegetation; the background is dark, with a nocturnal setting.

The figure of Paris is a self-portrait of the painter.

Between the branches of the tree there are two coats of arms, one with a blue swan and the other with a white rectangular well, which identify the one who would probably be the principal of the painting, Bendicht Brunner, a rich man from Bern, and his wife Margareta van Schwwanden.

Some characters are identified with legends written on their heads: PARIS VON TROY DER TORECHT (Paris of Troy the fool), IUNO EIN GÖTTIN DER ÜBERWINDUNG INN STRITS (Juno, the goddess who wins in disputes) —Juno is the Roman version of Hera -; FENUS FENUS (Venus, the Roman version of Aphrodite); and CUPIDO.

On the other hand, above the apple it says EN DIESER OP, probable contraction of DIESER OPFEL DER SCHÖNSTEN (this apple for the most beautiful).

The author makes a serious iconographic error: he dressed Hera, the queen of the gods, as a warrior with sword and shield, when the same would have been Athena, the goddess of war.

Instead, Athena appears lavishly dressed, like a venerable matron.

It is evident that both characters are exchanged.

https://es.wikipedia.org/wiki/El_juicio_de_Paris_(Niklaus_Manuel)

1520-juicio-de-paris-niklaus-manuel-deutsch-1520

http://consentidoscomunes.blogspot.com/2013/11/el-juicio-de-paris-i-galeria-pintura-1.html

https://www.biografiasyvidas.com/biografia/m/manuel_deutsch.htm

https://museodelarte.blogspot.com/2014/01/el-juicio-de-paris-niklaus-manuel.html

https://www.wga.hu/html_m/m/manuel/j_paris.html

https://second.wiki/wiki/el_juicio_de_paris_niklaus_manuel

https://www.gettyimages.com.mx/detail/fotograf%C3%ADa-de-noticias/niklaus-manuel-deutsch-or-niklaus-manuel-1484-fotograf%C3%ADa-de-noticias/938594922?adppopup=true

https://es.wikipedia.org/wiki/El_juicio_de_Paris_(Niklaus_Manuel)